Electrical Outlet is a composition aimed at investigating variations of a theme written to be performed by a Roland TB-3 sequencer and processed in real time using VCVRack as a method of expression dedicated to variations.

Arrangements for voice and piano also processed with the same VCV Rack modules are provided. The vocal parts are the result of a small and free vocal improvisation also aimed at testing “the machine” which were also kept to represent the compositional impetus embedded in the first performance.The piano draws its parts from Rachmaninoff's “Concerto No. 2” also processed by theamedamed patch in VCV Rack. 

Going into the specifics of the digital treatment of the sound material, we find that modules are used to alter the input sound in timbre and tempo.The Rec module is used for the export of the performances.The final composition is edited and developed in Pro Tools without the use of additional effects,only for the purpose of making the listening more interesting work was done on thePan-Pot and automated spatialization in the stereo image.

The routing of the signal used on VCV Rack is developed in three channels of the mixer

Input 1
The first mixer module was reserved for a delay to which the direct signal of the external instrument you choose to use comes.

Input 2
The second channel is intended for an AM/ ring modulator that goes to the input signal into which a VCO in turn enters by exploiting the output of the Sin signal. Other waveforms were also used during execution. This one is reported because it is used in most of the settings.

Input 3
In the third channel we find a VCF using the High Pass output that brilliantly preserves the signal created at the input even during signal processing.

Electrical Outlet

River is an electroacoustic composition created with the minimalism of primary media in mind.
In this case it starts from the very medium of pickup, the microphone.
Turning a curious look at applied electronics, I made two contact microphones,buying their components and assembling them with only some soldering.

The contact microphone works by capturing mechanical vibrations directly from the surface on which it is mounted, and having created this limitation for myself, I set about developing the idea for the composition.
I then set out to search for instruments that could produce interesting timbres based on the recording capabilities of the microphones.

Thus excluding by their limitation natural environments, I wanted to create new ones with these small and defined but equally sparse sounds.
For this reason I opted for a chain of effects for analog modulation pedals such as: Delay (with expression pedal), reverb, octaver, overdrive, chorus, which I used on one of the two microphone lines during the performances of all instruments.
One microphone, on the other hand, was completely pure, an element I was interested in to render the focus of the track.

For the percussion part, the microphones were made hydrophonic with interesting results and pleasant surprises.

THE SCORE

It is based on a score for three instruments: guitar, baritone sax and rhythm scanned with different materials in the water such as: stones, metal objects, hands.

The voices for the various instruments were performed to a score that scanned the exact point of each part of the piece in real time via a video.
These are thus live performances where from the recordings were then taken from the most incisive parts.
Two different overdubs were used for each instrument.
The reason is quickly stated and is related to the fullness and completeness of the sound in the sound spectrum.
By having two equal timbres performed with small to more notable differences, we can widen the space by creating sonic surprises and pleasant movements to the ore- cording.

For the mix, I preserved all clean channels in the center so we will have 3 timbres made from 6 elements in the center to give focus and precision that frame the whole composition in its entirety and then the others on the sides that exchange with automations in the stereo space.

As a final step, wanting to conclude with a completeness that only mixed technique can give, using max MSP, the 3 stems representing the total voices of the instruments were independently processed into a patch mapped to a midi controller that allows the individual voices to be acted upon on tempo and modulation parameters with a delay and reverb.

River

Galaxian Landscape is a composition aimed at investigating the development of compositional archetypes.

In this case, electromagnetism is the protagonist of the performance where in fact electronic objects such as: hair dryer, drill, vacuum cleaner, and a smartphone were used as means of transportation to arrive at denaturing the real timbre to produce another one.

These elements were then processed through the use of traditional instruments such as guitar, violin bow and analog effects in which we can find the creative process given by the composer's hand, dedicated to finding the right sound within the score presented in icon.

Basically they are execuziuons on a video timeline that in real time were performed without then being edited but rather chosen from several performances of the same performance to arrive at the complete final stream.

Galaxian Landscape

Guernica is a composition developed specifically for the sole use of the German analog synth “Krischer” which has 8 oscillators practically all at the same frequency. 

A pure and raw instrument that with its great limitations led to the development of a special composition based on Picasso's painting “Guernica” from which lengths, solids and voids were taken, performed with a volume control, the only element external to the synth so that you can let the direct sound flow and make it dynamic at will up to the total absence of sound in different parts game that creates an interesting exchange of dialogues between the parts enhancing the potential of this square wave timbre.

Guernica

'K' is a painted, three-dimensional piece with paint off the edges of a precise drawing that from above each line orders everything while leaving ample room for the imperfections typical of a pleasing, well-done sketch.
The cleanliness of the spaces does not always determine their order.
In this case we have an appropriate example because by drawing its harmonic fabric from painting, already an inkling can be inferred toward the dimension of the inca- lcolable at the same time assigning a safe zone to what concentration detached from all thought can give.

An intimate discourse with the self then, coming out in music intended for 8 Synthesizers of which 7 are analog in stereophonic dimension.
The structure is transformative throughout. Interesting to observe how this diversity is in harmony with each space taking the listener on a gently ascending path always weighted however by the stretched out brushstrokes horizontally as is also visible from the score.

The layered natural and panoramic stretches of 36 tracks constantly intertwine following the graphic lines taken from Kandinsky's 'Composition VIII'.
As with abstract art, this is a performance devoted to the search for form, structural and stereophonic.

THE SCORE

The score takes its weights from Kandinsky's 'Composition VIII' and is presented as a graphically synthesized picture divided into eight sections corresponding to each Synth.
Each section has four sub-sections designed as distinguishable lines distinguished by the same color.

Electroacoustic and electronic Composer.
Artist and musician.

Simone Bastianello

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